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ryt\
THE
Art
of
Eeading
Latin
HOW
TO
TEACH IT.
BY
WILLIAM
GARDNER HALE,
Professor
of
Latin in Cornell
University.
-o
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I
vi8
I
dedicate
this paper
to
John Williams
VYhite
and
James
B.
Greenough,
to
the
injtuence
of
ivhose
methods
of
teaching
any icelcome
that
may
he
given
it
will
he in good part
due.
Copyright,
1887,
by
William Gardner Hale.
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FA
PREFACE.
-K>-
THE
method of teaching herein
advocated
started,
many
years
ago,
from
a desire
to know Latin
Uterature,
and an impatience
with
the actual
amount
of
reading
power
attained
by
a
college
course.
At
the outset
there existed
a
conviction
that
the modern
mind
could not
be
so
degenerate
as to
be
incapable
of
reading
Latin
as
the
Romans
read
it,
that is
to
say,
in the Roman order, in
the Roman
medium,
and
at
a
rate
of
speed
which
would
not
be
intolerably
slow
in
the reading of
a
modern
tongue.
The
nature
of
the
aim
dictated
the
method
to
be
employed
;
and
the
em-
ployment of the
method
proved
the
soundness
of
the
original
conviction.
The
writer has
for
some years
intended
to
publish
an
account
of this method,
as
it
has shaped
itself
in
prac-
tical
experience
with
successive
classes.
First,
however,
he desired
to
present
it
orally
before
a
number
of
gath-
erings
of
teachers.
As
a
beginning,
accordingly,
the
address
with
which
the
pamphlet
opens
was
read before
the Holiday
Conference of
the
Associated
Academic
Principals
of
the
State
of
York,
held
in
Syracuse
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4
PREFACE.
was
received
was
so
kindly,
and
the
requests
that
it
be
published
without
further delay were so
pressing,
that
it seemed
best
not
to
hold
to
the
former intention.
The
pamphlet
has
not the
form
which
was
first
intended,
namely,
that of
plain exposition
;
for,
in
spite
of the
iteration of the
personal pronoun,
the
form
of
direct appeal
and explanation natural
to
an
address
proved
to have
its
advantages. It has been
necessary,
however, to add
to
the
address
a
consider-
able
supplement.
Though
no
explicit
suggestions
will
be
found
in
re-
gard to
the teaching of Greek, the
substance of
the
method
of
course
applies alike
to
either language.
I
am
under
a
debt to many of
my
students
of recent
years,
whose
support of
the
method,
though it
was
taken
up
by
them
under
the
sore
necessity
of an entire
revolution
of
confirmed mental habits,
has
supplied
me
with the confidence that comes
from
concrete results.
But
I am
under especial obligations to
my sister. Miss
Gertrude
Elisabeth
Ilale,
both
for
suggestions
made
earlier
as a
result of
her
own
experience (the device
mentioned
on
page
31
originated,
so
far
as
my
own
case
goes,
with her) and for
a
searching
criticism
of the
proof
of the
present pamphlet,
from the
point
of
view
of a
preparatory
teacher.
Ithaca,
April
18,
1887.
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THE
ART OF READING
LATIN
HOW
TO TEACH
IT.
An
Address
delivered
before
the
Associated
Academic
Principals
of
the
State
of New
York,
Dec.
28,
1886.
THE
attacks which
have been
made
of late
upon
the
study of
Greek
and
to some
extent
upon the
study
of
Latin
have
had
at their
backs
the
conviction
that
the
results
obtained
are
very
much
out
of
proportion to
the
years
of
labor
spent
upon
these
languages
by
the
schoolboy
and
the
college
student.
The
danger which
threatens classical
study
to-day
in
this
country
is due
in
large
part
to
the
fact that
this
conviction
is
a
sound
one.
If
the
case
were
different,
if
the
averag-e
college
graduate
were
really
able
to
read ordinary
Greek and
Latin
with
speed and
relish,
the
whole
matter
would
be on
a
very different
footing
from
that on wdiicli
it
now lamely
stands.
To
learn
to read
Greek
and
Latin with
speed and
relish,
and
then,
if
one's tastes
turn
towards
literature
or
art
of
any kind,
to proceed
to do
so;
to come
to
/
know
familiarly
and lovingly
that
great
factor in
the
(
record
of
the thinking
and
feeling
of
the
human
race,
(
the
literatures
of
Greece
and
Kome,
that
is an
aim
which
we
should
all
set
before
our
students.
But,
speaking
generally,
our
students,
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G
THE
ART
OF
READING
LATIN*.
erate
them,
perhaps
they
respect
them.
But
to
love
them
and
to
make
them
a
substantial
part of the intel-
lectual
life,
that
is a
thing
which
many a student,
fitted
therefor
by
natural
taste
and
ability,
fails
to
accomphsh,
and never so
much
as
knows
liis
loss. This
seems to
me, looking at
the
long
years
of study
given
to
Greek and
Latin,
and
the
great emphasis put upon
them
in
the requirements
for
admission
to
our
colleges,
a very
sad
business.
Now
tlie
blame
of
it
all must
be
divided among
three
])arties,
the Greek and
Latin
languages
themselves,
the teachers
in
tlie preparatory
schools,
and
the
teachers
in the
universities.
The first
of
these
guilty
parties
are
out of
our
reach.
They
are
difficult
languages;
but
difficult
languages they
must
remain.
That
leaves
the
practical
whole
of
the
responsibility
to
be
divided
be-
tween
the
teachers
in
the
preparatory
schools
and
the
teachers
in
the
universities,
or,
to take
concrete
exam-
ples,
foi'
tlie
pui'pose
of
our
conference,
between
you
and
me.
Which
of
us is
the
more
to
blame,
I will
not
attempt
to
say.
rut
so
much
I will
say,
and
from
my
sure
observation
:
that
the
influence
upon
the
formation
of
intellectual
character
exerted
by
the
teachers
who
pre-
pare
young
men
for
college
is
nearly
ineffaceable.
The
boy
who
comes
to
college
with
a thinking
habit
is
capa-
ble
of
leai'iiing
to
I'ead
Latin
(for
I
nmst
now
confine
myself
to
that
topic,
though
the
whole
substance
of
what
I
have
to
say
applies
with
equal
force
to
the
teaching
of
Greek)
with
ease
and
speed;
the
boy
who
comes
without
the
habit
has
faults
that
a
college
course
can
i-arely
cure.
That
the
boy
should
be taught
to
thhik
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HOW TO
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IT.
7
before
he
comes to
college
is,
then, from
the
point
of
view
of
the study of Latin,
the one indispensable
thing.
That
it
is
so from every other
point
of view
as well,
makes
our case so
much
the
stronger.
But one thing more is
also
indispensable
sooner
or
later for
a
high
success
(and
there
is
in
Latin
but
one
success),
namely, that
the method
which
the
boy
is
taught
to
use
in
his
thinking
be
the
right one,
the
result
of the most
careful
observation of the
practical
difficulties
to be overcome, and the most
careful
study
of
the
best ways
of
overcoming
them.
As
we group these
difficulties, placing
them
in
the
order
in which
they
would
be felt by
a
beginner,
we
find
them
to
be
:
1. The
vocabulary.
2.
The system of
inflections.
3.
The
elaborate use of this
system of
inflections
to
express
meaning,
in
place
of our
simpler
modern
methods
of
using prepositions,
auxiliaries,
and
the hke
or,
in
a
single
word, syntax.
I suppose
the beginner would think
that
these
three
difficulties
covered
the whole ground,
and
that if
he
had
his vocabulary
and his
inflections
secured,
and
understood
what
is
called
syntax,
he could
then
read
Latin
with
great
ease.
But
he would
be
very wrong.
The
most formidable difficulty
has not
been
mentioned.
The
Latin sentence
is
constructed
upon
a
plan
entirely
different
from
that of the
English
sentence.
Until
that
plan
is
just
as familiar
to the student
as
the
English
plan,
until,
for
page after
page, he
takes
in
ideas
as
readily
and
naturally
on
the
one
plan
as
on
the
other,
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8
lllK
AKT
OF
READING
LATIN:
caiTies
his
mind
through
the
very same
development of
tliought
thiit
took
place
in the
mind
of the writer,
he
cannot
read
Latin otherwise
than
slowly
and
painfully.
So,
then,
an
absolutely
essential
thing
to
a
man
who
wants
to read
Latin
is:
4. .V
[)erfect
working
familiarity with
the
Eoman
ways
of
constructing
sentences.
Now we
teach
the first three
things
more
or
less
effectively,
vocabulary,
inflection,
syntax.
Do
we
teach
the
hist?
I
tui'u to
the
First
Latin
Books,
in
order
to
find
what
is
said
to
students
at that
most
critical
period in
their
study of
the
language,
the
beginning.
I
re-
member
well
ho\v
I
was
taught
at
Phillips
Exeter
Academy
of
revered
memory
to
attack
a Latin
sentence.
First
find
your
verb,
and
translate
it,
said
my
teaclier.
''
Then
find
your
subject,
and
translate
it.
Then
find
the
modifiers
of
the
subject,
then
the
mochfiers
of
the
verb,''
etc.,
etc.
Well,
I
had
got more
than four
years
beyond
Exeter
before
I
learned
to
read
Latin
with
any
feeling
but
that
it
was
a
singularly
cir-
cuitous
and
perverted
way
of
expressing
ideas,
which
I
could
not
expect
to
grasp
until
I
had
reformed
my
author's
sentences
and
reduced
them
to
English.
Since
my time,
however,
better
ways
may
have
come
into
vogue.
S(j
J
turn
to
the
books
of
two
scholarly
gen
tlemen
of
my
accpiaintance,
practical
teachers,
too,
namely,
Mr.
Comstock,
of
Phillips
Andover
Acad-
emy,
and
Dr.
heighton,
of
the
Brooklyn
Latin
School.
On
page
288
of
Mr.
Comstock's
FiVst
Latin
Book,
aii.l
pages
211
and
212
of
Dr.
Leighton's
First
Steps
in
Latin,
T
find
distinct
rules,
essentially
the
same,
for
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HOW
TO
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IT.
9
the
operation
in question. The
former begin
as
fol-
lows
:
a.
In
every
simple
sentence,
find
and translate
(1)
The subject.
(2)
The
predicate.
Here is
a
new
departure, an
entire
revolution since
my
day.
I
was
taught
to find
first
the
precUcate.
A
change so
radical,
a
method
so
exactly
the
opposite
of
the old
one,
ought
to
lead
to
results the
opposite
of
the
old
; namely,
to
the power
to
read
Latin
easily instead
of with
difficulty. So, with
a
cheerful
heart,
I take
up
a
simple
sentence
in
the
fourth
oration
against Catiline,
3,
5,
and
try
my
new
method.
Haec
omnia
indices
detulerunt.
I
look
for my sub-
ject.
Fortunately,
it
lies
right
at
hand. It
is
liaec^
nom.
pi.
Next I
translate it, these
'j or,
since
it
is neu-
ter,
these
things.
Then
I
proceed to
find
the verb,
which
again
is
obvious,
viz.,
detulerunt,
in 3d
person
pL,
agree-
ing with the subject
haec.
Perhaps
I
have
caught
from
somewhere
the
happy
idea
of
not
looking
words
up
in
the
dictionary
until
I
have
tried my hand at
them. So,
very
properly,
I
set
out
Avith the
simplest
meaning
I
can
think
of,
viz.,
hrought.
Now
I
am
well
started
:
These
things
h'ought.
Next
I
look
for
the
modifiers
of
the
subject, and
find
ovinia.
I
build
it
on,
and
have
now
all
these
things
for my
subject,
all
these things
hr
ought.
^ ^
Next
I
look for the
modifiers of
the
predi-
cate,
and
I
find
indices,
witnesses,
ace.
pL,
object
of
the
verb.
Everything is straight.
All
these
things
brought
the
witnesses.
I
pass
on,
and
when
I
come
to
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10 THE
ART OF
READING
LATIN
:
All
these things
hrought
the
witnesses,^^ prepared
to
parse
it
to the last word,
only
to be
told
that
I
am
entirely
wrong.^
Now,
a Eoman
boy
of
my
age,
and
much
less clever
than
I,
if he could have smuggled himself
into
the
senate
that day, would
have
understood
what
those
four
words meant the instant
Cicero
uttered
the
last
of
them,
detulerunt.
What is the difference
betAveen
us
?
Each
of
us,
he
and
I,
knew
substantially
the
meaning
of
each word,
each of us could inflect, each
of
us knew
all
the
sjmtax required.
Yet
I
missed the idea,
while
he
got
it.
Wherein
did he
beat
me?
Why,
simply
here
:
I, following
the
direction
of
my
teachers,
first
found
my
subject, and
settled
on
haec. The
Roman
boy
did
not
know
whether
haec
was subject
or
object.
He only
knew it
as
haec. I
knew
that
detiderunt was
the
verb,
and
so did he
when
it
arrived. I
knew
that
omnia agreed with
the subject
haec^
while he
only
sur-
mised that
it
helonged
with
haec^ whatever
that
might
prove
to
be. I
knew that
indices
was
the object,
while
he
only
felt
that
indices
was
subject or object,
and that
it
was
the
opposite of
haec
omnia
(apposition being
out
of the question),
being
object
if that
should turn out
to be
subject,
and
subject
if
that should
turn
out to
be
object.
Then
he
heard
detulerunt^
and with
that
word
everything
dropped
into
place
as
simply
as,
in
Milton's
sentence
following,
1
If the
example
chosen
is
not
a happy one,
any
teacher
of
young
pupils
any
college
teacher even, -I
fear
could, with
a
few
days'
watching of
a class,
come upon
examples
that will
satisfy
him
that
the
habitual method,
no matter
how
high
the
teacher's
aims,
tends
to
bring
about
a
laxity of
scrutiny
which
constantly
leads into
blunders
as bad as the
instance here given.
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HOW
TO
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IT.
11
...
the
moon,
whose orb
Through optic
glass
the
Tuscan
artist
views,'*
the
last
word
resolves
our
momentary
suspense
in
regard
to the relation of
orb
and
artist
;
Tvhich
relation
would
have been
precisely
reversed,
had
we
found
such
a word,
e.g.,
as glads.
Let
us try the method
further.
Mr.
Comstock
goes
on
(the
italics
are
in
part
my
own)
:
b. In a Compound
Sentence
translate
each
pwncipal
clause
as
though
it
were a
Simple
Sentence. If
there
are
Subordi-
nate
Clauses, translate them in
the
order
of
their
importance,
A Subordinate
or Dependent
Clause
is one
which,
just as in
English,
limits
some part
of the
Principal
Clause
(as
de-
scribed in
42,
page
12).
A
clause
introduced
by
a
Latin
word meaning
if,
ivho, ivhich,
because,
since,
although,
ivhen,
after,
tvhile,
etc.,
is
Dependent,
and
should
be
left
until
the
meaning
of
the Principal
Clause
has
been
obtained.
c. In a Complex
Sentence,
first
translate
the Principal
Clause
as
a
Simple
Sentence
;
then
translate
the
Dependent
Clauses
according
to
directions
given
above
(6)
But
what
is the order of
their
importance,
and how
am I
to
start
?
With
the
connective,
I
presume.
We
will
suppose
it
to
be
ut.
But
how
shall
I
translate
it
?
There-
are
some
half-dozen
or
more
meanings
:
in
order
to, so
that,
loJien,
as,
considering,
although.
Which
does
it
have
here?
I cannot
tell.
J^o more
could
a
Roman.
But
the
difference
is,
that
a
Roman
did
not
leant to
tell
which
one
of
its
forces nt had
here,
but
waited until
something
in
the
rest
of
the
sentence,
perhaps
twenty,
perhaps
fifty,
words
away,
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12
THE
ART
OF
READING LATIN
I
up
a
cent,
and
start
off
upon
a
meaning,
with
the
odds
heavily
against
me
;
possibly
to
find
my mistake
and
go
back
and
correct
it,
more
-probably
to
add
error
on
error
in
order
to
make
sense,
and
so
to
get
the whole
thing
into a
hopeless
muddle.
I^ow,
all this is
wrong.
It
is
a
frightful
source
of
confusion
to
prowl
about
here
and there in
the
sentence
in
a
self
-blinded way
that
would
seem
pathetic
to a
Roman,
looking
at
things
without
the
side-lights
afford-
ed to
him by
the order
;
and, further, it
is
a
frightful
waste
of time. Take
a
sentence such
as
often
occurs
e.g.^ the
opening of the
third
oration
against Catiline,
delivered
before
the people.
Imagine, now,
two
scenes
:
on the
one
hand
the
Eoman Forum, on
Dec.
3,
63 b.c,
with
a
mass
of
men
and
boys
listening
to
Cicero
as
he
tells the
story of the
entangling
of
the
conspirators re-
maining
in
Rome
;
on
the
other,
a
modern schoolroom,
say
in the Syracuse
High
School
(though
I
hope I
am
about
to
slander Dr. Bacon),
Dec.
3,
1886
a.d.
In
the
former case
Cicero has the
floor,
as we say
;
in
the
latter
case,
Dr. Bacon's assistant, book
in hand,
his
pupils before
him. Both audiences
want to
get at
the
same thing,
what
Cicero
has
to
say.
In
the first
scene
Cicero
proceeds
:
Rem
publicani, Quirites, vitanique ouiniuiii ves-
truiii,
bona,
fortuiitis,
coniiiges
liberosque
vestros,
atque
hoc clomiciliuin
clarissiiiii
iniperi,
fortunatissi-
inaiii pulcherriinamqiie urbeni, boclierno
die
deoruni
iinmortaliiiiii
siimmo
erga
vos
ainore,
laboribus con-
siliis periculis nieis, e
fiainnia atqiie
ferro ac
paene
ex faucibus
fati ereptam et
vobis
coiiservatain
ac
\
restitutam
videtis.
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HOW TO
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13
When
he has
said
that, every
soul
that has heard
him
knows
precisely
what
he
means.
Now
change
to
the
Syracuse High School.
The
teacher
says,
first find
your
subject. So we
run on,
scenting
out
a
subject
:
Rem
publicam,
Quirites,
vitamque
omniuin
ves-
truni, bona, fortunas, eoniuges liberosque
vestros,
atqiie
hoc cloiiiiciliuni
clarissinii
iniperi,
fortunatissi-
iiiani pulcherrinianiqiie
urbeiii,
hodieriio
die deoriiiii
imniortaliuiii
suninio erga
vos
aniore,
laboribus
coii-
siliis
periculis
iiieis,
e
flamnia
atque
ferro
ac
paene
ex
faiicibus
fati
erei>tani
et
vobis
conservatani
ac
restitvitam
videtis.
Well,
we
are through w4th the entire
sentence,
and
there
is
no
subject
Of
course,
then,
it
is
implied
in
the
verb, and is the 2d
personal
pronoun, in the
plural.
Next
we
find
our verb.
That
is,
as
it
happens, the last
word,
mdetis.
Then
we
go back, do
Ave,
and find
the
modifiers of the subject,
and
then
the
modifiers of
the
verb
?
iV^6>,
I
say to
all that.
We
have
already,
if
we
have
been
rightly
brought up,
understood
everything
in that
sentence
hy
the time
we reach the
last
syllable
of
it,
with-
out
having
thougld
nieanv^hile
of
a
single English word
j
and we
are
as ready in 1886
to
go
on
iinmediately
with
the
next
sentence
as
we
should
have
heen
if
we
had
heen
Romans in the
Roman
Forum on
that
day
in
63
B.C.
Or,
to
put it
another
way,
the
boy
who,
reaching
that
oration in
the course of his preparation
for college, can-
not
understand
that
particular
sentence,
and
a
great
many
much more
difticult
sentences
in the
oration,
from
reading
it
straight
through
once
in
the
Latin,
nvij^from
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14
THE
ART
OF
READING
LATIN
I
in
the
Latin^
has
been
wrongly
trained,
is wasting
time
sadly,
out
of
a
human life
all
too
short, and,
so
far
from
being
on
the
direct
way
to
read
Latin
with
speed
and
relish,
and
then to
proceed to
do
so,
is
on
the
direct
way to
drop
it
just as
soon
as
the elective system of
his
particular
college
will
allow,
and,
if he
cares
for litera-
ture, to
go
into
some
language
in
which
it
is
not
neces-
sary,
first to
find
the
subject,
and
then
the
predicate,
and
then
the modifiers
of
the
subject,
and
then
the
modifiers
of
the predicate,
and
then
to
do
the same
thing for the
subordinate sentence,
or,
if
there are
several
subordinate
sentences,
to
do the same
thing
for
each
one
of
them in
the
order
of
their miportance,
and
then
to
put
these
tattered bits
together into
a
patch-
work.
Now,
it
will not
do to
say
that students,
by
beginning
in
this
Avay, get, quite early,
beyond
the need of it. At
any
rate,
I
can testify, from my
own experience, that,
in spite of the
admirable
efforts
of
the
schools in
sight-reading, they
do not,
when
they
come
to
Har-
vard or
Cornel]. I allow
myself
in my
class-room
keeping Avell inside of what
is
said
to be
customary
among college
professors
one
jest a year.
When
I
fin'.t meet the new Freshman
class (for
I
could
not
bear
to
leave
such precious
material wholly
to
the
most
per-
fect assistant),
I
question
them
:
''
Suppose,
noAv,
you
are
set,
as
you
were
at the examination
for
admission
the
other day,
to
tell
me
the
meaning
of
a
sentence
in
a
book
you
never
saw,
say an
oration
of
Cicero,
how
do
you
proceed
to get at the
writer's
meaning
?
There
is
at once
a
chorus
of
voices (for
they
are
crammed for
that
question,
having
learned
printed
directions,
as
we
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TEACH
IT.
15
have
seen,
in
the
first books
they studied),
First
find
?5A6
SUBJECT,
three-quarters
of
them
say
;
PEED-
IC
ATE,
the other
quarter.
I^ow here, I
say
to
them,
is an
unhappy
difference
of opinion
about
first
princi-
ples in
a
matter
of
everyday
practice,
and
of very
serious
importance.
Which
is
right
?
They
do not
know.
Which do you
suppose the
Romans
who heard
the
oration
dehvered
in
the
Forum
first
hunted
up,
the
subject
or the predicate?
That httle
jest, simple
as
it is,
alw^ays
meets
with
great success
;
for it
not
only
raises
a
laugh (of
no value
in itself),
but
it
shows
at
once, even
to
a
Freshman,
the
entire
absurdity
of try-
ing to
read Latin
by
a
hunting-up first
of
either his
subject or
his
predicate
;
and
so
enlists
his
sympathy
in
favor
of
trying
some
other
way,
if any can
be shown
him.
But,
at
the*
same time, it
proves to me that
the
method
taught
at
the
most
critical
of
all
periods,
the
beginning,
is
still
wrong.
Only
in
late years,
and
very
rarely, does
some student answer my
question
with
First
read
the
first
Latin
w^ord
without
translating
it,
then the
second,
then
the third,
and
so
on to
the end,
taking in all the
possible
constructions
of
every
word,
while barring
out at once the
impossible, and,
above
all,
erring,
if
anywhere, in
the
direction
of
keeping
the
mind
in
suspense
unnecessarily long,
waiting,
at least,
until
a
sure solution
has been
given by the
sentence
itself.
Yet this is the one method
that should
everywhere
be
rigorously
used,
from
the day of
the
first
lesson
to
the last
piece
of
Latin
that
the
college
graduate
reads
to solace his old
age.
Only,
the
process which at
first
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16
THE
AET
OF
READING
LATIN
*.
the Romans,
heconies^ in
Latin
of
ordinary dijjicidty^
a
process
wholly
unconscious
and
very
rapid, precisely
as
it
was
with the Romans.
Just
when the
process
Avould
become
easy
for
ordinarily
simple
Latin, if the
training
were
right from the
beginning, I
cannot say.
In my
own
experience
with
college
students,
all
Avhose
habits
have
to
be
changed,
I
find
a
striking
difference
to
be
produced
in
a
single
term. And
at
the end of two
years,
when
the
elective
work
begins,
I
now
find
it
entirely
practicable
for the class to devote
itself
to the
study of the
Latin
literature
in
the
Latin
alone,
having
nothing
to
do Avith
version
into
English
except
at
the
examinations
;
and
I
never
had
so
good and
so
spirited
translation, Avhether
at
sight
or
on
the
reading of
the
term,
as
last
Aveek,
when,
for
the
first
time,
I
held
such
an
examination
at the
end of
a
term spent Avithout
translation.
To bring
the matter
into
a
definite
and
practical
shape,
I
can
best
indicate
Avhat it
seems to
me
you
ought
to
direct
your
teachers
of Latin
to do, mutatis
lautandis,
by
telling
you
Avhat
I
myself do from the
time Avhen
I
first
meet my Freshmen
to the
end of
the
Sophomore year.
After my little
jest about
the
Romans
hunting up
fii^t
the
subject and then the
predicate
as
Cicero
talked
to
them, or first
the predicate and
then
the subject,
Avhich-
ever
one tliinks
the
Roman
method
may
have
been,
I
assure them that
Avhat
Ave
have
to do
is
to
learn
to
understand
a Roman
sentence
precisely
as
a Roman
un-
derstood
it
as
he
heard
it
or
read
it,
say in
an
oration,
for
example. IS'oav
the Roman
heard,
or
read,
first
the
first
Avord, then
the
second,
then
the
third,
and
so
on.
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TO TEACH
IT.
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through
sentence
after
sentence,
to
the end of
the
ora-
tion,
with no
turning
back, with
no
hunting
around.
And
in
doing
this he
was
so
guided all
the time,
by
indications
of one
kind
or another
in
some way strown
through
each
sentence, that, when
the
last
word of
that
sentence
had been spoken or
read,
the
whole
of
the
meaning had reached
his
mind.
The
process of
detect-
ing
these
indications of
meaning
was
to
him
a
w^holly
unconscious one.
We
moderns,
however, of course can-
not
begin
so
far along. What
we
are to
reach finally
is precisely
this unconsciousness of processes
;
but
we
shall
be
obliged, for the
first
few
years,
explicitly
to
study the indications, until
we
come
to
know
them
familiarly,
one
after
another.
We
must
for
some
time
think
out, at
every point,
as
the
sentence
progresses (and
that without
ever
jlUowing
ourselves
to look
ahead), all
those conveyings of
meaning,
be they choice of word,
or
choice
of
order,
or choice
of
case,
or choice
of
mode,
or choice of tense,
or
whatsoever
else
which
at
that
point
sufficed
for
the
Roman
mind.
And
when
these
indications
which
after all
are
not
so
many
in
number
have
come
to
be
so
familiar
to
us
that most
of
them
are
ready
to
flash
before
the mind
without
our
dehber-
ately summoning
them,
we
shall
be
very near the
point
at
which,
in Latin
graded
to
our
growing
powders,
we
shall interpret
indications
unconsciously.
And
the
mo-
ment
we
do
that,
we
shall
be
reading
Latin by
the
Roman's own
method.
I take up
now
all books
being
closed
a
sentence
of
very
simple
structure,
of which every
word and every
construction
are
familiar,
say
a
certain
passage
in
Livy.^
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18
THE
ART
OF
READING
LATIN
:
I
tell the stoiy
of
the
context
:
Two
assassins
have
got
admission, on the
pretext
of a
quarrel
to
be
decided,
into
the
presence
of
Tarquin.
One of them
diverts
the
attention of
the
king
by
telling
his
tale, and
the
other
Ijrings
down
an
axe
upon
the king's
head
;
whereupon
they
both
rush
for
the
door.
In
order
that the
interpretation shall
be
done
abso-
lutely in the order
in which
a
Roman would
do
it,
with-
out
looking
ahead,
I
write
one
ivord
at
a
time
upon
the
board (as
I will again do upon
the
board
before
you),
and
ask
questions as I
go,
as
follows
^
:
Tarquiniiim.
''
What
did
Livy
mean
by putting
that
word
at
the
beginning
of the
sentence?
That
the
person mientioned
in it
is
at this
jwint
of
conspicuous
irrvportance.
Where
is
Tarquiniuiii
made
?
In
the
accusative
singular.
What
does
that fact
mean
to
your minds
%
Here
most
of them
are
somewhat dazed,
not
being
used
to
that word meaning^ the
very
word
that
ought
constantly
to be
used
in
deahng
with
syntax,
or
so-called
parsing.
So
I very
probably
have to
say,
May
it
mean
the
duration
of
time
of the
act with
which
it
is
connected
?
They
say. No. I ask,
Why
not
%
Somebody says.
Because the name
of
a
person
cannot
indicate
time.
I
say,
Give me
some
words
that
might
indicate
time.
They
give
me
dies^
noctes,
aetatem^
etc.
Then
I
ask,
'
May
it
mean
extent
of
space
?
They
say,
No^
give
me
similar
reasons
for
their
answer,
and,
1
The
sentence
grows
upon tlic
board
by
the addition
of
one
word
after
another. To
obtain
the same
result
in
print,
with
each
new
word
the
wliole
of the
sentence
thus
far
given
will
be
repeated.
And,
for
the
sake
of
greater clearness,
answers
will
be
distinguished
from
ques-
tions
by
the
use
of
italics.
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HOW
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IT.
19
upon my
asking for
words
that
might indicate
extent
of S23ace,
they
give me,
perhaps,
iiville
jyassuum,
tres
pedes, etc. Then I ask,
May
it
indicate
the
extent of
the
action
of
the
verb,
the degree to
which
the
action
goes
?
Tliey
say, ]Vo, for
a
similar
reason. But
when
I
ask
for
words
that
might
mean
the degree
of
the
action, they
commonly cannot tell
me,
for
the
reason
that,
strange
to say,
the
grammars
do
not
recognize
such
a
usage; though
sentences hke he
walks
a
great
deal
every
day
{midturn
cottidie amhidat)
are
even
more
common
than
sentences like
he walks
three
miles
every
day
{cottidie tria milia passiixim
avd)idat)^
and
the
ac-
cusatives mean essentially
the same thing
in
both
sen-
tences.
Then
I
ask,
May
it
mean
that
in
respect
to
which
something
is
said,
as regards
Tarquin^
the
accusative
of specification
?
To
a
question
like
that,
I
am sorry to
say
that
a great many
always
answer
yes,
for students
get
very
vague notions
of the
real
uses
of
the
Latin
accusative
of specification.
Somebody,
how-
ever,
may
be
able to
tell
me
that
the
name
of
a
person
is
never used in
the
accusative of specification, and
that
in general the
use of
the accusative
of specification,
in
the
days
of
Cicero
and
Yirgil,
was
mostly
confined
to
poetry. What
words
were iised
in
the accusative
of
specification in
prose
\
Here
I never get an
answer,
although
the list
is determinate,
short,
and
important.
So I
have
to
say,
I must
add
to
your
working
knowl-
edge
a
useful
item
;
write
in your note-books
as
follows
partem,
mcein, genus
with
omne or
a
pronoun {quod,
hoc,
id),
seciis
w^ith
virile or
muliebre, hoc
and
id with
aetatis,
the
relative
quod and
the
interrogative quid,
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THE
ART
OF
READING
LATIN
:
specification.
Here,
then,
is
a
bit
of
definite
informa-
tion which
may
enable
you,
when
you first
meet one of
these
words
again
(you
will
do
so
quite
early
in
your
first book
of
Livy),
to
walk without
stumbling
through
a
sentence
where
you
would
otherwise
trip. Then
I
go
back
to
Tarquinium.
May
it
be,
I ask,
an
accusative of
exclamation
?
They say.
Possibly
so.
I
say,
possibly yes,
though
in historical
narration
you
would
hardly
expect such
an
exclamation
from
the
his-
torian.
Next
I
ask,
''
May
it
be a
cognate
accusa-
tive? To
that
they
answer,
No
;
telling
me,
perhaps
with some
help,
that
the name
of
a person cannot
he
in
any
sense
a restatement
of
an
act,
cannot mean an
activity.
''Well, then, what does
this
accusative
case
mean
?
By
this
time
a
good
many
are ready
to say
Object
of
a
verb,
or in
appositioyi
with the object. But
I
ask
if
one thing
more
is possible,
and
some
one
says
:
Subject
of
an
infinitive.
Yes,
I
answer
;
''
and
one
thing
more
yet %
Predicate
of
an
infinitive,
some
one suggests.
Now,
1
ask,
what
have
we learned from all
this
*.
Given
the name
of
a
person or
persons
in
the
accusative
with no preposition,
how many
and
what
constructions
are
possible
?
All
are
ready
now
to answer.
Object
of
a verb, or suhject or predicate
of
oai
infinitive.
''
Good,
I
say.
Keep
those
possibilities
always
fresh
in
your
mind, letting them
fiash
through it
the
moment
you
see
such
a
word
;
and, that having
been
done,
wait,
and
NEVER DECIDE which
of
tlicse possible
meanings
was in
the
mind
of
tlie Tloman
speaker
or
writer
until
the
rest
of
the
sentence
has
made the
answer
to
that
question
perfectly
clear.
tell
me
what
constructions
are
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HOW
TO
TEACH
IT.
21
possible
for an
accusative
like
hiememP
They
answer,
duration
of
Phne,
ajpjposition^
object
of
verh,
subject
or
predicate
of
an
iyifinitwe.
For
an
accusative
like
pedes
f^
They
answer,
extent
of
space,
apposition,
object
of
verb, or subject or
predicate
of
an
infinitive.
For an
accusative
like
midtum
f
Extent
of
action,
apposition,
object
of
verb,
or
subject
or
predicate
of
an
infinitive.
For
an
accusative like
vitam
f
Cognate
accusative,
apposition, object
of
ve7'b,
or
subject
or
predi-
cate
of
an
infinitive.
Now I ask,
Can any
one
tell me
what
constructions
we may
expect
if
the
verb
turns
out
to
be
some word like
doceo
or
celo
f
Thev
all
give
the
answer,
and
therewith
I
have
already
passed
in
rapid
review
practically
the
whole
matter
of
the
accusative
constructions
;
and,
what
is
more,
and this
is
vital,
I
have
done it
from
a
very
practical
stand-
point.
I
have not asked
a
student
to
parse
a word
after
seeing its
full
connection
in
the
sentence
(an
exer-
cise
which
loses
four-fifths of
its
virtue
by
this
misplace-
ment),
but
I
have
demanded
anticipatory
parsing,
I
have put my questions
in
such
a way that my
students
have learned
for all
accusatives
what
instantaneous
sug-
gestions
of the
possible parts
a
word
is playing
in
the
sentence
they
may
get, at
first
sight
of the word,
from
the
very nature
of the
word.
Then
I
pass
on.
We
have our King
Tarquin
before
our
eyes,
as
the
person
on
whom
the interest
of
the
sentence
centres,
and
Ave
know
that he is
the
object
of an
action,
or
the
subject
or
predicate
of
an
infinitive
action
;
or,
possibly, in
ap-
position with
such
an
object, subject,
or
predicate. To
proceed,
the
next
word,
moribundum,
is
what
and
where
-
8/11/2019 Art of Reading Latin - Hale
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22
THE
AKT
OF
READING
LATIN
'.
or
neut.
Don't
smile
at
all
this.
The
habit
of
getting
a
young
student
to
think
all
these
things
out,
even
where
he
could not
go
astray
if
they
were
not
asked
of
him,
saves
many a
getting
lost in
difficult
places.
What
is
probable
about
Qnoribimdum, as
we
have
it in this
particular
sentence
?
That
it helo7igs
to
Tarquinium.
Right.
Now
keep
that
picture
in
mind
:
Tarquinivim
moribuiidviiii,
the
King ,
breathing-
his last, acted
upon
or
acting.
Now
for
the next
word
:
Tarquinium
moribunrtum
cum. What is
cum
?
Some say,
with
perfect
readiness,
jpreposition^
some
say
conjunction?-
'^
But,
I
answer,
if you
are
used
to the
right
spell-
ing,
you
know
with
an instant's thought
that
no
Eoman
that
ever
lived
could
tell
at
this
point
whether it
was
preposition
or
conjunction. In order
to
tell,
you must
wait
for
what?
AUative or verh^
they answer.
Then
we go
on,
Tarquinium
moribuntlum
cum
qui.
What
does
qui
at
once tell us about
cum
t
''
Conjunc-
tion. Right. What do
we
noAv
know,
with almost
absolute
certainty,
about
Tarqiiiniumf
What
part
of
the
sentence
does
it
belong
to
\
Here,
I
grieve
to
say,
a
chorus
of
voices
always answers.
Main verh ;
for, in
some
mysterious Avay,
students arrive
at
the
universities
without having learned that
the
Romans
delighted
to
take
out the most
important
word, or combination of
words,
from
a
subordinate introductory
sentence,
and
1
Tlie
fact
tliat
it
is possible for students,
witliout
a
moment's
reflec-
tion, to
plunge at
things
in
tliis
sadly
well-known way
shows
how
thoroughly
ineffective the
prevailing
method of
teaching
beginners is
in
developing
a sharp
and
self-suspicious,
observation.
That
charge,
it
will
be
seen,
cannot be brought against
the method
advocated
in
this
paper.
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HOW TO TEACH IT.
23
put
it
at
the
very
start, before
the
connective,
a bit
of
information
worth
a
great deal for
practical
reading.
That
habit
of
expression
I
now
tell
them,
and
then
ask,
Given
a
sentence
beginning
with
mors
s% what
do
you
know 1
That mors
is
the
subject
or predicate
of
the
verh
introduced
hy
si.
Given
a
sentence
intro-
duced
by
Hannibali
victori
cum
ceteri
f
That
Han-
nihali depends
on
something
in
the
cum-sentence.
IN^ow we
go
back to
our
sentence,
and
the
word
qui.
What
part
of
speech
is
it
?
Belative^ they
say.
''
Or
what
else
?
I
ask. Interrogative.
Where
is
it
made
?
Nom.^
sing,
or
plur.^
masc.
If
it is
a relative, where in
the
sentence as a
whole
does
its
antecedent lie?
They
should answer. Inside
the
ciwi-clatose.
The
cum
serves
as
the
first of
two brackets
to
include
the
^i^^'-clause.
If,
on the other
hand,
it
is
an interrogative,
what
kind
of
a
question is alone
here
possible ?
Indirect., and
in
the
siihjtmctive, they
answer.
In
that
case, what
kind
of
a
meaning, speaking
generally, must
the verb intro-
duced
by
cum
have
?
It
must
he
cd)le
to
imply
asking
of
sortie hind.
Rightly
said
;
perhaps
we
may
have
such
a
sentence
as, When everyhody
i/nqivired
who
these
men
ivere
Cum
qui
essent
omnes
quaererent
or
perhaps
we
shall
find
that
qui
is
relative. The
next word
is
circa,
Tarqiiiiiiuni iiioribuuduiii cum
qui
circa.
What
part
of
speech
is it
?
Adverh.
What
then
may
it
do
?
It may
modify
a verh^
an
adjective,
or another
adverh. We
proceed
:
Tarquiniuni
iiioriTbuiidum
cum
qui circa
erant.
What,
now,
about circa
?
It
modifies
erant.
What
was
the number of
qui
?
Plural.
Was
it
relative
or
interrogative
?
Relative.
^'
do
you know
?
Because
erant
is
not
sid)junc-
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8/11/2019 Art of Reading Latin - Hale
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24
THE
ART
OF
READING
LATIN
:
twe.
Eight.
ISTow
qui circa erant
is as good
as
a
noun or
a
pronoun,
an
indeclinable noun or
pronoun,
in
the
plural.
Think
of
it
in
that
way,
as
we
go
on.
Tarquiiiiuiii
inoribundviin
cum
qui
circa erant
exce-
pissent.
I
don't
ask
to-day the
meaning
of the
mode of
excepissent,
because
the world
is
in so
much
doubt
about
the
question
of
the
history
and force
of the
cwn-
constructions.
But
what
was
Livy's
meaning
in
writing
the
accusative
Tarquinium
?
Object
of
excepissent.
Yes,
and
what
was
the subject
of
excepissent
?
The
cmtecedent
of
qui.
Yes ;
or,
looking
at
the
matter
more
generally,
the
subject
was
qui
circa erant.
Before
going on,
what picture
have
we
before
us ?
What
has
the sentence
thus
far
said
?
This
:
See
Tar-
quin,
dying
See
the
bystanders
See
them
pick
him
up
Our
curiosity
is
stimulated
by
the very
order.
The
next
word
is illos,
Tarquinium
moribundum
cum
qui
circa erant
excepissent
. . . What does
the
position
of
illos,
first
in
the
main
sentence proper,
tell
us
?
That
the jpeople
meant
hy
it
are
of
special
proini-
nence at
this
point.
Who
do
you
su^^pose these
illos
are, these
more
distant
persons^
thus
set
in emphatic
balance
against
Tarquinium,
each leading
its
clause?
The
assassins,
the
Avhole
class
sa}^
What do
we
know
about
Livy's
meaning
from
the
case
?
Now
they
all
answer
in
fine
chorus
and
completeness.
Apposition,
object
of
mai/n
verb,
or
subject
or
predicate
of
infiiitive.
We
proceed
:
Tarquinium
moribundum
cum qui
circa
erant
excepissent, illos
fug-ientes
. .
.
What
part
of
speech is
fugientes?
Participle. Which
one?
Present
active.
Then
you
see
a
running-away
going
on
before
your
eyes.
What
gender
?
Masc.
or
fem.
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HOW
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TEACH IT.
25
What
number
?
Plural.
Then
you
see
some two
or
more men
or women
running
away.
What
case %
Nom.
or
ace.
On
the
whole,
do
you
feel
sure
you
know
the
case ?
Yes
;
accusative.
Belonging
to
what
?
lUos.
Why
?
Because
of
course the
as-
sassins,
the
illos,
would
rtm
atvay.
Yes,
I
say;
but
it cannot possibly
mislead
you to
wait
until
there
isn't
a
shadow of
a
doubt.
We
will go
on
:
Tarqiiinium
nioribundum
cum
qui
circa
erant
excepissent,
illos
fug'ientes lietores
.
. .
Here
you
have
another set
of
people,
the
king's
body-guard.
In what case
?
jV^mn.
or
ace.
plural.
Which
?
They
do
not know.
Well,
then,
can
illos
agree
with
lietores,
if
you
consider
forms
alone
?
Yes.
In
that
case,
fugientes
would have
to
go with
illos
lietores, wouldn't
it?
Yes.
But
would
the
hctors
run
away 1
JVo.
Would
the
assas-
sins
?
Yes.
Certainly.
Then
fugientes
does
not
belong
with
lietores,
and
does
belong
with
illos
;
and
illos
seems
to be,
just
as
we
suspected at
first
sight
of
it,
the
assassins.
However,
we
must
ask
ourselves
one
more
question.
Is
ajjjposition
possible between
illos
and
lietores
?
Wo
/
for
they
are vdry
different
people.
Is
any
relation
of
a
predicate
possible between
them
%
Can
the one
be
the
predicate
of
an
infinitive
of
which
the
other
is the
subject
%
No
;
hecause,
as
hefore,
they
are
very
different
peojjle.
Still
it
is
possible
that
lietores
is
accusative.
If
it
is,
it
may be object,
in
which
case
illos
is necessarily
subject,
for,
as
we
have
seen,
they
cannot
be
in
apposition
;
or,
it
may
be
subject,
in
which
case,
for the same
reason,
illos must
be object.
In
either
case,
they must
be
in direct
opyposition
to
each
other,
one
of them
(avc
don't
yet
know
which)
being
subject,
the
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26
THE
ART
OF READING
LATIN
:
other,
object;
while,
if
lictores
is
nom.,
you
still
have
the same
relation, only
you
know
which
is subject
and
which
is
object.
In
any
event,
you
see
they
are
set
over
against
each other,
together
making
subject
and
object.
Now
keep
the results of
this
reasoning
ready
for
the countless
cases
in
which
such combinations
occur.
Given
two
nouns
hke
bellum
Sag-untum
: what
are
the
constructions?
One is
the
subject
of
a
'oerh^
and
the
other
the
ohject,
and
we
canH
yet
tell
lohich.
Right.
IS^ow
I
will
give
you a
still more involved
combination,
but of
a very commonly
occurring
kind,
quae nos
inateriein.
What do
you
make
out
of
that
?
Some
clever boy
will
say,
Nos must he
the subject
of
a verb,
either
finite
or
infim^itive,
and
quae
and
materiem are
ob-
ject
and
predicate-object.
Good. Then
what
kind
of
meaning
does
the verb
probably
have 'i
One
of
ccdl^
ing.
Right.
The
words
are from Lucretius,
and
the
verb
he
used
was
vocanius.
Treasure
up
that combina-
tion,
and the
meaning
of
it.
Now
we go
back
to
the
assassins
who
are
running
away,
and
the
king's
body-guard. I
will
inform
you
that
there
is just
one
more
word in the
sentence. What
part
of
speech
is it?
Verb.
Active
or passive?
Active.
Right.
What
does
it
tell
?
Tells
what
the
lictors do to
the assassins.
What mode,
then?
loi-
dicative.
What
two
tenses
are
possible
?
The
perfect
and
the
historical
present.
Right.
Now
the
situa-
tion
is
a
pretty
dramatic
one.
Which
of
these
two
tenses
should
you
accordingly choose,
if you
were
writing
the
story
?
The p>r^8eni.
So
did
Livy.
Now tell
me
what
you
tliink the
verb is.
Interficiunt., somebod}^
says.
Capiunt,
says another,
hating
the
idea
but
not
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HOW
TO
TEACH
IT.
27
the
right
word, which is
comprehendunt,
get
hold
of
them
well^
7iah
^em
y
or,
as our tamer
English phrase
might
put
it,
secure
them.''''
''Now
let us
render
into
English the
sentence
as a
whole,
translating
not
merely
Livy's w^ords,
but the
actual
development
of
the
thought in his mind.
Tar-
quinium, tliere^s
Tarquin
^
moribundum,
he\s a
dying
man
j
cum
qui circa
erant,
you
see
the
hystanders
ahoiit
to
do
something
excepissent,
they
have
caught
and
s%tp-
ported
the
h'ing
illos,
you
turn and
looh
at
the assas-
sins
^
fugientes,
they
are
off
on the r%in
'^
lictores,
there
are
the
Ithufs
hody-gnard
;
loe
hold our hreath
in sus-
pense
^'
coniprehendunt,
they've got
'em
So,
then,
that Latin
order,
which looks so
perverted
to
one
who
is trained
to
pick
the
sentence to pieces and
then
patch it
together
again,
gives
us the very succession
in
wdiich
one
would
see the
actual events
;
weaves
all
the
occurrences
together
into
a
compact whole,
yet
keeping
everywhere
the
natural
order
;
while
any
order that
we
may
be able
to
invent
for
a corresponding
single
sen-
tence
in
English
will
twist
and
warp
the natural
order
into
a
shape that
would
greatly
astonish
a
Roman.
Finally,
with
the understanding and sense of the
dramatic in
the situation,
which
we
have
got by
working
the
sentence
out
as
Livy w^rote
it,
compare the
perver-
sion of
it
which
we
get
by
working
it
out
correctly
on
the
first-find-your-subject-of-the-main-sentence-and-then-
your-predicate,
etc., method
:
the
lictors secure
the
assassins
as they
run away, when those who were
standing
by
had
caught
and
supported
the dying
Tarquin.
The
facts are
all there,
but
the
style^
the
soul,
is
gone.
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THE
ART OF
READING
LATIN
:
Then
I
at
once
bring
what
we
have
learned
to
bear
by
giving
a
piece
of
blanlv
paper
to
each student
and
starting
out
upon
a
new
sentence,
which
shall
involve
what we
have just seen,
together with
some fresh mat-
ter.
The questions
are
carefully
studied and
written
out
in
advance,
and the place of each is indicated
to
me, in my prepared
manuscript,
by a number attached
to
the
Latin
word
concerned,
as
if
for
a
foot-note. As
each
question
is
put,
the
number
is
at
once
written
down
by
each
student, and
his
answer
written out.
Afterwards my
assistant
carefully
goes
through
every
])aper, and
with
a
colored pencil marks every error,
for
my
own guidance,
and
for
the subsequent
study, peni-
tence, and profit of
the
writer.
The
following
is
an
example
actually
used, from Livy,
21,
53.
The
answer
that should
be Avritten is
given
with
each question.
Hannibal^
cum^
quid^*^^'^^^
optiniuni^^
^^
^^
foret^^
liosti^*
cerneret,^^
^^
vix^
villain
spem^^^^
babebat^*^
teiiiere^^^^
atque^^^ *
^^ 26
consules^'^^^^^^^^
32
1.
Construction?
Subject
of
a
verb, either
subordinate
or
main.
2. Fart
of
speech
?
Preposition
or
conjunction.
3.
Cum
was what part of
speech ?
Conjunction.
4.
Construction
of
Hannibal
?
Subject or
predicate
nominative
of
verb
introduced
by
cum.
5.
Quid
is
w^liat
part of
speech ?
Interrogative.
C.
Construction
of
the
verb to which
quid
belongs?
Subjunctive of
indirect question.
7. General
nature of meaning
of verb
introduced
by cum?
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HOW
TO
TEACH
IT.
29
8.
Case
of
quid
?
Nom. or
ace. neut. sing.
9.
Construction
of
quid?
Subject,
predicate,
or
object
of finite verb
or
infinitive
;
or
ace.
of
specification, the
so-called adverb.
10.
Case?
Nom. neut.
sing.,
or ace. masc. or
neut.
sing.
11. Construction?
If neut.,
agreeing with
subject
or
object
of
verb,
or
in
predicate. If
masc, agreeing
with
object
of
verb,
or
with subject or predicate
of
an infinitive.
12. What constructions may
follow to
complete
the
meaning
of
optimum ?
Dat.
of the
person
for whom
something
is optimum,
or
abl.
of that with respect to
which something
is
optimum.
(It
is worth
while
to
have
those
two
possibilities
pat, for
the
great
class
of
words
of
which
optimum
is
a
specimen.)
13. Where made
?
.
Imperfect subjunctive.
(Reason already
given
under
6.)
11.
Construction
?
Dative
after
optimum.
(Reason
given
under
12.)
15.
Where made, and
introduced
by what?
Imperfect
subjunctive,
introduced
by
cum.
16.
Construction
of
Hannibal?
Subject
of
cerneret.
17.
Vix,
hardly, has a negative
feeling.
In
such
a
connection,
what
would
be
the
pronoun
meaning
any,
and
what
the
adjective?
(Probably
nobody knows.)
Quisquam, ullus.
18. Construction
?
Ace.
sing.,
object of
verb,
or
subject
or
predicate
of infinitive.
19. Spes,
just as much
as
spero,
indicates
a
mental
activity,
and
we
shall
probably
find
something
else,
completing
its
meaning,
the
object
of
the
spes.
What
will
be
the
case
()
if
the
completing
word
is
a
noun
?
Objective
genitive.
(h) If
the
completing
word is
a verb
?
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30
THE
ART OF
READING
LATIN
:
20.
Subject
is
what?
A
pronoun,
repeating
Hannibal.
21.
Part
of
speech,
and
simplest
meaning?
Adverb,
meaning
blindl/j.
22.
Bearing
in
mind
that,
in
the
ordinary Roman habit, words
were placed
in
anticipation of
those
which they
modify,
not
after
them,
what
do you
feel about
temere
?
That
it
modifies
the
expected
object
of
spem,
which,
conse-
quently, is
a
verb.
23.
Probably introduces
what
?
Another
adverb,
corresponding
to
temere.
24.
Write
an
adverb
to
mean not
looking
ahead.
Improvide.
25.
Write
nom.
or ace.
neut.
sing, meaning
anything
(in
one word).
Quicquam.
26. In
what case
is that
word
here,
and
with
what verb
is
it
con-
nected
?
Ace, connected with
a
verb,
which
verb
must depend on
spem.
27.
Where made,
without
reference
to
context?
Nom.
or
ace.
plur.
28.
Where made, with
reference
to
context?
and
how
do you
know?
Ace,
because
habebat
is sing.
29.
Meaning of
this
accusative
?
That
consules
is
subject,
object,
or
predicate of
an infinitive.
30. Relation
of quicquam
and
consules
to
each
other?
One the
object,
the other
the
subject, of
the infinitive.
31.
Complete the sentence,
using
a
verb
meaning
do.
Acturos,
with or
without
esse.
32.
Write,
in
the
best
English
you
have at your
command,
a
translation of the
sentence.
IN'ow,
I
go on to
say to
my
students,
you
are
to
commit
this sentence
to
memoiy,
and
be
ready
to
give
it
fluently in
the Latin
when
we
meet
next.
And in
the same
way you w'lW. commit
to memory every
pas-
sage
we so
use
in
the
year
;
and
at
each term examina-
tion
you
will find
yourselves
called
upon
to
write
one
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8/11/2019 Art of Reading Latin - Hale
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HOW
TO
TEACH
IT.
31
of
these
passages,
still
from memory.
Further,
and
still
more
important
than
this, never again
pick out
your
subject,
your
predicate, etc.
;
but,
in
preparing your
daily
lessons,
do just what
we
have
been
doing this,
morning,
except
that
you
are
not
to
translate
any
sen-
tence,
or
any
part
of
any sentence,
until you have gone
through the
w^iole lesson
in the
Latin,
and
got
all the
meaning
in your power
out of
it.
I give
you
a
short
lesson,
and
I
shall
call
upon
one
man
and
another
to
take up
a
sentence
and
go
rapidly through
it
as
Latin,
word
after word,
as we
have just
now
done,
telUng
us
precisely
how it should
be
thought out.
In preparing
your lesson,
in
order
to be
sure that your
eye
does
not
stray
and run ahead,
cut
out
a
piece of
flexil)le
paste-
board,
or,
until
you
can
get pasteboard,
a
piece
of
stiff
writing-paper,
as
long
as
twice the
width of your
printed
text, and
two
or tliree inches
wide.
Cut
a
strip
from
the
top,
running along half the
length,
and deep enough
to
correspond to
precisely
one line of
your
text, includ-
ing
the space that belongs with
it.^
Use
this
piece
of
1
At
the
meeting of
the
Philological Association
at
Ithaca
last
summer,
Professor Gildersleeve, in
the course of some
remarks upon
the
reading of
Greek and Latin,
expressed himself
with great
severity
in
regard to
the
habitual
way of
doing tlie thing, and
suggested
that
it
would
be
desirable,
in
order to
fo